THE PROBLEM OF THE MEANING OF MUSICAL MELODY WITHIN THE PHILOSOPHICAL ANALYSIS OF MUSIC

Abstract

The purpose of the article is to analyze the question of human musical ability, the question of the peculiarities of the creation and perception of music, in particular its melody. The article considers the fundamental approaches to determining the nature of the musical phenomenon, formulated within the framework of philosophy and musicology. Particular attention is paid to defining the essence of musical melody as a major component of European tonal music. The need for a thorough study of the musical phenomenon, understanding its essence and basic properties is determined by the special status of music in the modern world. On the one hand, music has accompanied humankind throughout its history, on the other hand, with the advent of technical means of reproduction and distribution of musical works, the relationship between music and socio-cultural environment is undergoing significant changes. Music is becoming a global phenomenon of the modern world, it transcends cultural boundaries and intertwines with the general socio-cultural context. Music accompanies a person in all spheres of his/her life, and therefore has a constant impact on his/her consciousness. Given this, the analysis of the content of musical works and music in general becomes very relevant. The methodological principles of the study were musicological concepts of the form and content of musical melody, philosophical and historical concepts of society and culture. Scientific novelty. Within musicology, philosophy and cognitive sciences, many concepts are formulated about how a person is able to create and perceive a musical melody; which is the basis of its integrity and meaningfulness. In particular, the form and content of the melody are associated with the emotional component of human consciousness, with the language ability, and so on. The article attempts to separate the problem of the meaning of music from objective and subjective factors, and to consider it in a purely cultural plane, based on the concept of intersubjective reality by Yu. N. Harari. Conclusions. As a result of the research, conclusions are made about the expediency of analyzing the question of the meaning of a musical melody (and a musical phenomenon in general) from the point of view of its existence within the intersubjective reality.